The Manley Dual Main EQ is a modernized, true-stereo evolution of the most respected passive EQ design in professional audio. Built for mix-bus work, mastering chains, and high-end tracking. It delivers authoritative low-end weight, open and musical highs, and dimensional depth - with perfectly matched stereo operation. The Dual Main EQ combines a passive inductor-based EQ network, high-voltage tube makeup gain, and custom in-house wound Manley Iron transformers into a dual-channel signal path designed to do more than adjust tone. The result is equalization that shapes weight, dimension, depth, and musical cohesion - not just frequency balance. The front-panel labeling supports mid-side workflows, allowing for seamless integration with external M-S encoders and independent equalization of mid and side components, providing the spatial control necessary for professional mastering. A universal switchmode power supply, compatible with all mains voltages, contributing to the unit's extended headroom and low noise floor. The Dual Main EQ is hand built in California. The Dual Main EQ is designed to complete and analog master-bus EQ system together with the passive stereo Dual Mid Band EQ. The Dual Main EQ handles lows and highs; the Dual Mid Band EQ handles the midrange. Together they cover the full frequency spectrum with a coherent, matched character - and the Manley sound throughout.

The OC1 offers Optical compression, ideal for adding smooth, warm and natural-sounding dynamic control across all audio sources, but is particularly good for vocals and acoustic guitars. Total Control Uncommon in 500 series compressors, the OC1 offers a full complement of features. Input/Output gain, all the familiar Threshold, Ratio, Attack, and Release controls, as well as parallel compression capabilities with the Wet/Dry Mix knob - all fully adjustable, and recallable through the 21-position detented high precision pots - allowing total control of dynamics. BIG and AIR Modes A high-end feature taken from the award winning 1973 multi-band studio compressor, the fully selectable BIG and AIR modes shape how the compressor responds to low and high frequencies, adding extra richness and warmth on the lows, and more sparkle and brightness on the highs. BIG reduces the side chain's sensitivity to low frequencies, creating the effect that the bass is louder or bigger. It also has the benefit of reducing the ducking and pumping effect that occurs due to highs being ‘pulled down’ by low-frequency dominance, helping to make mix compression much more affable. AIR preserves high-frequency detail that is sometimes lost in the compression process. The result being that the treble sounds more intimate, detailed and transparent, but without making it sound harsh or introducing any noticeably unnatural artefacts, adding definition, particularly to the human voice and acoustic instruments. Cymbals appear more vibrant without becoming splashy, and vocals sound more open but without becoming sibilant. CRUSH Saturation The OC1 also includes the popular CRUSH harmonic feature. The effect varies with the level of input gain, and adds harmonic richness, subtle distortion, and that elusive analogue warmth that brings mixes to life. The low end fattens, the mids gain presence, and the top end sparkles with smooth shimmer. A PGM mode switch introduces a second, slower release time in proportion to the program material above the threshold. The effect is to reduce excessive 'pumping' and unnatural artifacts under heavy compression. Stereo Linking Using the dedicated Link pin 6 on the 500 chassis, the Gain Reduction of compressor modules placed in adjacent slots can be linked together using the LINK button. This feature is ideal for linking multiple channel modules. The module requiring the highest gain reduction is master and trigger for all the other linked modules. The link feature includes the Big and Air, Threshold and Ratio controls. Output Gain control allows the compressed signal to be adjusted and comprehensive metering shows Gain Reduction, and a choice of Input or Output level on the VU meter. To complete the feature set, a hard-wire unit Bypass connects the input directly to the output without alteration.

The TUBESTRIP combines 4 essential top-notch processors into one convenient 3-unit high, 7,6 kg, the ultimate all-tube recording channel. Packed with the best selection of tubes available, custom-made transformers and inductors you can certainly expect a very exciting and evocative sound that will bring recordings to life. The TUBESTRIP has the tools, the character and the intelligence to take Vocals, drums, guitars, bass, keys, room mics, acoustic instruments… exactly where they need to go. One unit. One signal path. Four processors working as one coherent instrument, each one drawn from Heritage Audio's deep engineering knowledge and from some of their most popular designs. THE PREAMP: MORPH The input section of the TUBESTRIP is a transformer-coupled tube-based amplifier offering up to 60dB of voltage gain and unrivalled flexibility when it comes to initially shaping the signal. The clever MORPH section allows users to select and blend between different modes, essentially offering a wide range of distinct preamp personalities. It can help emphasize warmth and smoothness in Triode mode or add more bite and attitude to the signal when using Pentode. In UL (UltraLinear) mode, the unit provides characteristics that fall between the two other options. With enough headroom, it can effortlessly manage any signal, whether from a microphone, LINE level, or DI for instruments. Additionally, an output attenuator positioned directly after the preamp section allows for any necessary adjustments before the signal proceeds to subsequent processors or recording devices. THE EQ: TYPE 69 The inductor-based EQ section, inspired by an innovative and legendary English design from the late 1960s, enables users to sweeten, soften, enhance, or focus any sound to meet precise requirements. Its clever layout provides the tools to efficiently sculpt the signal for both creative and technical needs. TUBESTRIP includes two tube compressors for total level and energy control and shaping. VARI-MU COMPRESSOR The first one is the Vari-Mu compressor and it steps up to handle any and all dynamic control that may be needed. This is based off of the Heritage Audio LANG P.Lane design and great for thickening signals and giving them that extra excitement, incredibly maintaining transients and letting the signal breathe, even under heavy compression. For more flexibility the order between the EQ section and the Vari-Mu compressor can be switched. OPTICAL COMPRESSOR The optical compressor is setup with short attack and release times for smoothing out any take and avoid any unwanted peaks as well as provide that classic, lush density that suits vocals so very well. It can also be turned into very organic and natural sounding de-esser with exact frequency adjustment for transparent and musical sibilance control to cover all singers. The OUTPUT section provides an attenuator covering the range of -14 to +6dB to perfectly adjust the output level for the following signal chain.

The Manley Dual Mid Band EQ is a modernized, true-stereo evolution of the most respected passive EQ design in professional audio. Built for mix-bus work, mastering chains, and high-end tracking. It provides mastering-grade midrange control with smooth, musical precision - shaping presence, clarity, and punch without harshness. The Dual Mid Band EQ combines a passive inductor-based EQ network, high-voltage tube makeup gain, and custom in-house wound Manley Iron transformers into a dual-channel signal path designed to do more than adjust tone. The result is equalization that shapes weight, dimension, depth, and musical cohesion - not just frequency balance. The front-panel labeling supports mid-side workflows, allowing for seamless integration with external M-S encoders and independent equalization of mid and side components, providing the spatial control necessary for professional mastering. A universal switchmode power supply, compatible with all mains voltages, contributing to the unit's extended headroom and low noise floor. The Dual Mid Band EQ is hand built in California. The Dual Mid Band EQ is designed to complete and analog master-bus EQ system together with the passive stereo Dual Main EQ. The Dual Main EQ handles lows and highs; the Dual Mid Band EQ handles the midrange. Together they cover the full frequency spectrum with a coherent, matched character - and the Manley sound throughout.

The MIX BUDDY redefines what a mixer can be, offering the first-ever instrument-focused design with an unprecedented 19 inputs and 8 outputs. Unlike conventional mixers built for microphones and line-level sources, this unit is engineered from the ground up for instruments, delivering unparalleled clarity and tonal integrity. At its core, the MIX BUDDY features two distinct gain input types—Hi Gain and Unity—both built around the legendary Toshiba 2SK JFET series. They ensure that every signal, from passive basses to modern synths, retains its natural character without noise introduced by generic mixer designs. The Hi Gain inputs add a touch of musical saturation, while the Unity inputs provide pristine, transparent amplification, making it the ideal solution for both acoustic and electronic sources. Flexibility is at the heart of the MIX BUDDY’s design, with features that streamline workflows for studio and stage alike. The MONO + THRU function allows any instrument to be sent to an amplifier or external processor while remaining in the mix, enabling parallel processing without complex setups. The built-in mic preamp, combined with the AUX effects loop, unlocks creative possibilities by allowing vocals to be processed through guitar pedals like chorus, delay, reverb, or distortion directly within the mix. The PRE mode transforms the effects loop into a true parallel processor, a feature typically found in high-end studio setups, now accessible in a compact desktop unit. With two master outputs—one transformer-balanced for warmth and one transformerless for pure transparency—the MIX BUDDY adapts to any environment, whether recording, performing, or monitoring. Built with Heritage Audio’s commitment to uncompromising signal quality, the MIX BUDDY is more than a mixer; it’s a creative command center. The stereo FX loop integrates hardware effects seamlessly, while the independent headphone amplifier ensures precise monitoring. From home studios to live stages, this unit consolidates the functionality of multiple devices into one, eliminating workarounds and delivering professional-grade results. The MIX BUDDY offers musicians and producers a tool that finally meets the demands of modern instrument mixing.

The FC1 brings Drawmer compression to the 500 series format. Featuring a complete control set and advanced shaping tools, this unit offers the precision, flexibility, and character typically found in a full Drawmer rack-mount unit, fitting into a single 500 series slot. The FC1 is a FET compressor, ideal for adding punchy compression due to its fast attack and release times. Total Control Uncommon in 500 series compressors, the FC1 offers a full complement of features. Input/Output gain, all the familiar Threshold, Ratio, Attack, and Release controls, as well as parallel compression capabilities with the Wet/Dry Mix knob - all fully adjustable, and recallable through the 21-position detented high precision pots - allowing total control of dynamics. BIG and AIR Modes A high-end feature taken from the award winning 1973 multi-band studio compressor, the fully selectable BIG and AIR modes shape how the compressor responds to low and high frequencies, adding extra richness and warmth on the lows, and more sparkle and brightness on the highs. BIG reduces the side chain's sensitivity to low frequencies, creating the effect that the bass is louder or bigger. It also has the benefit of reducing the ducking and pumping effect that occurs due to highs being ‘pulled down’ by low-frequency dominance, helping to make mix compression much more affable. AIR preserves high-frequency detail that is sometimes lost in the compression process. The result being that the treble sounds more intimate, detailed and transparent, but without making it sound harsh or introducing any noticeably unnatural artefacts, adding definition, particularly to the human voice and acoustic instruments. Cymbals appear more vibrant without becoming splashy, and vocals sound more open but without becoming sibilant. CRUSH Saturation The FC1 also includes the popular CRUSH harmonic feature. The effect varies with the level of input gain, and adds harmonic richness, subtle distortion, and that elusive analogue warmth that brings mixes to life. The low end fattens, the mids gain presence, and the top end sparkles with smooth shimmer. A PGM mode switch introduces a second, slower release time in proportion to the program material above the threshold. The effect is to reduce excessive 'pumping' and unnatural artifacts under heavy compression. Stereo Linking Using the dedicated Link pin 6 on the 500 chassis, the Gain Reduction of compressor modules placed in adjacent slots can be linked together using the LINK button. This feature is ideal for linking multiple channel modules. The module requiring the highest gain reduction is master and trigger for all the other linked modules. The link feature includes the Big and Air, Threshold and Ratio controls. Output Gain control allows the compressed signal to be adjusted and comprehensive metering shows Gain Reduction, and a choice of Input or Output level on the VU meter. To complete the feature set, a hard-wire unit Bypass connects the input directly to the output without alteration.

Since the early 1990’s, the Manley ELOP® stereo electro-optical limiter has been a tracking hero effortlessly controlling dynamics on countless records around the globe, delivering the coveted classic, all-tube sound that Manley Labs is known for. So how to improve something this good? The ELOP+ features a 3:1 compression ratio which opens up the doors to greater versatility, especially for 2-buss applications. It has been completely re-engineered from the ground-up, beginning with an amazing modern high voltage switching power supply purpose-designed for vacuum tube audio circuits. With careful reference to the sonic past, the vacuum tube line amplifier was deployed for highest performance and the White Follower output stage in this version all housed in a build-efficient chassis behind a drop-dead gorgeous precision-CNC-milled faceplate, all proudly made in America, of course. The Manley ELOP+ is everything the legendary ELOP was loved for, plus!

The D-Clock is a dual input/twenty output word clock distributor with a 16 character blue LCD display providing a reference measurement of the incoming sample rate. Both AES/EBU and BNC word clock inputs feature a zero latency loopthrough output with switchable high impedance to maintain the correct level of the digital signal for onward distribution. The D-Clock displays incoming sample frequencies up to 768 kHz to an accuracy of 2ppm (parts per million) with two further modes - sample frequency with ±ppm error and sample frequency with % pull up/down for video users. Sixteen BNC clock outputs are situated on the rear panel with a further four BNC clock outputs on the front panel for quick patching to other digital devices. The word clock outputs can be derived from either a word clock input or alternatively an AES/EBU audio signal from which clock information can be stripped. In the latter case, one of the many mic pre's with internal A/D conversion but no word clock output can be utilised as the master clock source for the whole digital studio.

The OST-6 V2.0 500 series enclosure is designed for racking any and all 500-series modules and devices, including ‘double wide’ modules and even the most demanding class-A and vacuum tube designs. The OST-6 V2.0 enclosure features Heritage Audio’s On Slot Technology, providing maximum protection, filtering, and isolation to each channel. While most 500-series enclosures on the market have a relatively simple power supply design essentially feeding every channel in parallel, each channel of the OST-6 V2.0 enclosure has its own power supply, individually regulated and isolated from the rest. This ensures that every 500-series module installed will perform at its peak potential, and that no ‘ power hungry’ or even a faulty module will compromise the performance of another. In addition to reducing interference, many 500-series devices actually exhibit lower self-noise and better performance when racked in the OST-6 V2.0 enclosure, specially mic preamps. A new and exciting feature in the V2.0 model is the Link feature, allowing each channel to be linked over to the next at the push of a button (via back panel), no patch cables required! As with all Heritage Audio products; the 500 Series OST-6 V2.0 enclosures are built utilizing the most cutting edge methods in manufacturing and design, without ever compromising audio quality or cutting corners.

The renowned Manley Stereo Variable Mu Limiter Compressor is a favorite of producers and recording engineers. Anyone who has heard the classic Fairchild 670 Series limiters in action has an idea of this Variable Mu's capabilities. Its adjustable attack and release settings are optimized for mixing and mastering, but are flexible for most tracking situations. Sonically versatile and dependable for daily use, the Variable Mu is Manley's best-selling device. Classic compression/limiting Although the Variable Mu is not a clone of one, the Fairchild 670 series used a similar limiting principle and those who are familiar with that piece of gear know this method to be very special. In fact, with "mu" meaning gain or amplification factor, the Variable Mu offers true variable gain, unlike most devices. How it works is that the unique 5670 dual trioide is at the center of the peak-reducing and compression action - and it's constantly being re-biased by the vacuum tube rectified side-chain control voltages. This causes the tube to smoothly change its gain. The Varible Mu's Compress mode is soft-knee 1.5:1 ratio while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Outputs while using very little or no compression. Perfect for dual-mono or stereo applications You might notice that the Vari-Mu has a ganged input control, but it's certainly not mono-unfriendly. There are separate threshold and output controls to make compensations with, plus you can always adjust your individual source levels elsewhere. The advantage of the stereo input control becomes clear when you switch to Link mode, and that's what the Variable Mu does better than anything else: final mix, 2-track, or mastering limiting and compression. The T-Bar option brings back the sound of the 6386 tube used in the early versions of the Variable Mu and the Frairchild 670. It makes the Variable Mu even smoother when pushed past 6dB of compression. Using two matched 6BA6 pentodes strapped as triodes makes this choice better than an unobtainable & unsortable 6386.

The Chandler Limited Mini Mixer is the culmination of Chandler's experience working with many types of vintage, discrete circuits. The Mini Rack Mixer traces its lineage back to several types of these amplifiers developed in the 60's and 70's that have been Chandlerized for modern usage. Each Channel of the 16x2 Mixer is transformer balanced and driven by the New Chandler Line Amp, which borrows from Chandler's other products but has been redesigned for use in this mixer. The Mini Mixer is jam-packed with discrete amps and classic sound, 20 discrete amplifiers and 22 custom wound transformers in the unit, and delivering all the punch and tone you need for todays digital environment. The Mini Rack Mixer Expander comes without the control room and master section.

The MXPRO-60 Front End One is a unique mic/line/instrument input channel in a single rack space providing high quality Drawmer processing prior to tape/hard disc recording. The MXPRO-60 is also ideally suited to project studio and live sound applications. Functioning as a studio grade mic pre-amp, Program Adaptive™ gate, de-esser, compressor, limiter, three band EQ and multi band tube saturation stage, the MXPRO-60 offers the user more options than competitive units currently available. Grass Roots - The MXPRO-60 draws its technology from the most successful of Drawmer products. The mic pre-amp features the same discrete component design found in the legendary Drawmer 1960, the de-esser is derived from the MXPRO-50, the VCA based compressor is similar to the MXPRO-30, while the peak limiter and gate can be tracked back to the DL241 compressor/limiter.

The LA12 is a low noise, low crosstalk distribution amplifier with high bandwidth specification, developed specifically for 'real time' cassette duplication. As more and more facilities invest in this form of tape copying, the LA12 offers the efficient solution to interfacing multiples of 'real time' cassette decks.

Manley's Massive Passive is an equalization monster. You can expect the best strengths of Pultec-style equalizers as well as choice console, parametric, and graphic EQs - all the radical shaping you'll need for the most demanding of sessions as well as the delicate, subtle shadings needed for vocals and mastering. The 2-channel, 4-band Massive Passive features a passive tone-shaping portion of the equalizer design and uses only the best components, for its ultimately huge, high-headroom performance. Premium design with passive components As you can expect from Manley, no corners were cut with the design of the Massive Passive, and there's no unnecessarily complicated circuit - Massive Passive features basic passive components and uses only metal film resistors, film capacitors, and hand-wound inductors to sculpt the sound. And thanks to its more natural design, you can expect more natural, organic tone. 2-channel, 4-band EQ for everything from the radical to the subtle The Massive Passive equalizer excels at everything from the drastic shaping needed for tracking to the most subtle of shadings needed for affecting vocal tracks or the whole mix. Although different in nature, its 2-channel, 4-band design offers a tremendous amount of sonic sculpting, incorporating the best strengths of Pultecs, choice console EQs, graphic equalizers, and parametric equalizers - but it doesn't throw color all over the audio. Get creative with it, or get logical and surgical with it - the Manley Massive Passive is ready to make the most of whatever you toss its way. Five steep highpass filters and four steep lowpass filters The Manley Massive Passive is packed with five highpass filters and four lowpass filters, and you can bypass either or both. The filters are steep, so you can pull out the junk without touching the real music. It's also great-sounding when combined with other bands. Ultimately, Manley went for "what's useful" when designing the Massive Passive, not "what's standard" - it's a welcome design departure that produces seriously massive results. MANLEY POWER® Power Supply The MANLEY POWER® power supply is an innovative design developed specifically for Manley Labs, specifically for High Voltage vacuum tubes, and specifically for audio by the world expert team in this technology led by Bruno Putzeys. Proven reliable and sonically superior in the Manley CORE, this power supply provides 300 Volt DC rails to run the vacuum tubes, beefy 6 Volt lines to power them up, along with several other voltage rails for the phantom power and various solid-state control voltages. High Voltage = High Headroom, folks. You will not get near this sonic performance with in any 500-series design. Trust us. This is Massive audio excellence which starts with this superior power supply. All lines are importantly regulated, low impedance, efficient, and super-quiet in this low radiating high frequency design. The universal mains input accepts any voltage or frequency from anywhere in the world making travel with the Massive Passive a breeze.

The 73EQ JR is a fully featured Line Input module for the 500 Series. It not only shares the 3-band Equalizer with his big brother, the 1073, but also shares the same transformer coupled line preamp and Class A transformer balanced output stage. These facts make the 73EQ JR unique on its class, being able to capture a full transformer based, Class A sound without relying on external preamps. The Equalizer features the same Baxandall type High and Low shelf found in the 1073, with the addition of a high frequency selector switch. 4 different frequencies are possible instead of the fixed 12Khz one. The mid band is the same exact dual inductor 1073 one, thick low and sweet high midrange boosts without being muddy or brittle! The line preamp has a range of +6 to -20dB, allowing heavy eq boosts without overloadingA/D converters. Finally, special care has been taken with power handling, implementing internal +24v slow turn on regulation (about 20 seconds to reach full voltage ). This makes the 73EQ JR independent of the rest of the slots and makes lunchbox´s PSU happier.

Taking inspiration from the legendary ‘Motown EQ’, the MQ-2 is a stereo, 7 band proportional Q Equaliser with EQ curves akin to the renowned EQ’s used in the illustrious Detroit studios in the 1960’s. This 100% analogue EQ features 7 bell curves, each having a variable cut/boost of ±10dB and set at the beautifully musical frequencies of the original. However, the MQ-2 is not only an EQ, it also incorporates a programme dependant, effortless to use one knob compressor that adapts its envelope to the characteristics of the signal. But it doesn’t stop there. In addition, it incorporates the highly regarded ‘CRUSH’ feature present on the Drawmer 1971. When you activate the crush circuit, get ready for some pleasing harmonic saturation and that classic analogue warmth that adds a ton of character to any signal passing through the unit. The result? It fattens up the bass, adds presence to the mids, and brings a delightful shimmer to the top end. The harder you drive the EQ and compressor the more Crush you’ll get. Using single controls for both channels it has never been easier to get the classic warm analogue sound you’ve been looking for.

The Heritage Audio Successor is a true stereo bus compressor with matched channels for precise left-right compression and virtually no channel offset. In addition to the single-ended Class A output stage in the style of the legendary 1073 amplifier circuitry, the Successor relies on transformer-coupled, balanced inputs and outputs based on a Carnhill transformer for an additional vintage character. The diode bridge circuit adds 2nd order harmonic distortion characteristics and true vintage tone while eliminating nasty odd harmonic content. Thanks to its modern circuit design, the Successor offers ultra-fast attack and release times never found in vintage designs and allows even FET-style bus compression with significant loudness maximization, without affecting the transients by sound artifacts that occur. Furthermore, the bus compressor shines with versatile sidechain options. Not only the usual high-pass filters are available, but also various peak filters in the mid-band for particularly flexible bus compression. The Sidechain SEND and RETURN connectors also allow external sidechain signals and further external processing of the internal one. In addition, the Successor's rasterized blend control enables parallel compression including the Blend ON/OFF button for direct comparison between wet and dry signals.

The Royer model R-DB20 is a phantom-powered ribbon and dynamic microphone signal booster and impedance buffer. It increases the level of passive low-output ribbon and dynamic microphones with a minimum of distortion or coloration. Designed for professional applications, the dBooster provides two levels of clean gain boost; 12dB and 20dB, selectable by a front panel switch. The dBooster maintains headroom and gain regardless of load. The Class A input circuitry presents a high source impedance to the microphone, which minimizes loading (damping). This reduces coloration and distortion while at the same time improving headroom. By utilizing the 12/20dB gain switch, optimum balance between gain and headroom can be achieved for a variety of uses. The low-impedance output of the dBooster is an increased microphone-level signal that can drive a digital interface directly or a standard microphone preamplifier. It also minimizes signal loss on long cable runs.

The LANG PEQ-2 Program Equalizer has been a powerful secret weapon for many during the last 60 years and is now available to everybody once again thanks to the rebirth of LANG Electronics Inc. acquired by Heritage Audio. The PEQ-2 is a very high quality passive equalizer with inductors and build on the same patented Western Electric design, as the ubiquitous Pultec program equalizers, but thanks to the solid state output amplifier the PEQ-2 offers a sharper, tighter response and makes it ideal for mix bus and mastering use. A few important differences between the two legends are: The PEQ-2 has nearly twice as many frequency options to choose from… 26 compared to the Pultec´s 14. The low end is infinitely more controllable as the LANG is able to Boost and Cut at different frequencies, unlike the Pultec. There is also a very useful 20 kHz option in the High Peak Boost section that can really be helpful. Lucky Engineers who used the old PEQ-2 stated that they actually prefer the PEQ-2 to the Pultec and have become their secret weapon and totally rely on them to produce their trademark sound, including Allen Sides, Andrew Sheps and Joe Chiccarelli just to name a few. While having a very simple and easy layout, the PEQ-2 can be deceiving as it is actually capable of some very extreme processing all while maintaining the musicality of your signal. With independent controls for Boost and Droop (Cut) for both the High and Low bands you can quickly transform your material in interesting, creative ways that you have almost certainly never considered before and are not even possible with the Pultec design. Once you’ve tried molding your mixes with these you’ll wonder how you ever managed before. Not only does the PEQ-2 offer Low Shelf boost and cut control and High Shelf cut, but it also has a High Peak Boost with a completely variable Q (Bandwidth) setting that spans from Sharp to Broad to cover any needs. What’s more, the range of Boost actually varies depending on what your selected Bandwidth setting is to offer a very smooth and natural response at all times… Very clever indeed. The ability to boost and cut at the same or similar frequencies produces exciting new equalized response curves. Experimentation is key, but you will quickly realize just how powerful this feature can be. Within no time the PEQ-2 will most likely become one of your most used studio tools. The sheer power if offers with the ease and speed of achieving results is impressive…and addictive. Heritage Audio is on the scene to make this nearly lost treasure available to any and all. After months and months of studying the originals, the PEQ-2 has been reborn and is back by popular demand. Like all the Heritage Audio products, the LANG PEQ-2 comes equipped with custom audio transformers at the Input and Output to make sure you always have a powerful, solid, noise-free signal to work with. Lang Electronics Inc. was famous for providing very high quality equipment at reasonable prices and Heritage Audio is intent on maintaining that philosophy.

The Heritage Audio Frame 8 For Neve "80" Modules is handmade in the EU employing the same exact ISEP mechanical components used in the Series 80 consoles: aluminum rails, guides, etc. This will ensure the vintage modules, as well as any that are currently made, will fit like a glove. Every channel has its own output control as well as illuminated phantom switch. Also, the Frame 8 is ready for linking up to eight 2264 compressors in two busses, A or B. Back panel features Neutrik gold-plated XLR connectors for Mic and Line inputs, as well as outputs. External Power Supply Unit is connected via Neutrik gold plated 4-pin XLRs. It is configurable for 220 to 240 volts or 110 volts. The power supply is included.

The P DI 2 is a dual channel fully passive DI box, based on quality custom-made transformer for exceptional professional studio recording, as well as live use. Thanks to its passive, power-free design, the P DI 2 converts the impedance from high to low and balances the signal using a magnetic transformer that transfers audio while blocking unwanted DC voltage and RFI. This makes it especially effective at eliminating hum and buzz from ground loops while maintaining the tone of your instrument at every stage. An additional 15dB PAD switch helps with hotter instruments and even allows speaker outputs to be plugged into the P DI 2. A THRU parallel connection for forwarding the input signals is also available. Transformers are the main ingredient on any high-level passive DI and the only way to master the transformer world is pure experience. Heritage Audio spent the last 15 years designing custom-made transformers and mastered transparent passive signal handling with the R.A.M monitor controller series. The P DI 2 is based on new designed HA-DI transformer. It has the ideal combination of a nickel core for an ultra-transparent signal transfer and MU Metal shielding for protection against any unwanted noise or interference caused by outside sources. The P DI 2 works best with active circuit instruments like keyboards, synths, drum machines, samplers and some guitars and basses, when they are required to be plugged into a PA or recording system. By matching the instrument’s output level to a typical microphone level, converting it to a balanced signal and minimizing noise, the strongest, clearest signal can be achieved.

The Heritage Audio ELITE series is a budget-friendly version of the widely respected, hand-wired 73JR and DMA73 preamps. A combination of mass production, lean manufacturing and modern construction techniques makes it possible to offer a zero compromise, high quality yet very affordable series of products. The HA73 ELITE microphone preamplifier is based on the iconic 1073, amplifying any microphone or instrument with vibrant clarity and punch. On driving the input harder it provides the saturated sound as known from a vintage console. With 80dB of gain the HA73 is suitable for any type of microphone - condenser, dynamic, or ribbon. The hand wounded Carnhill input and output transformers add warmth, girth, and authority to any sound source - mic, line, or even DI instruments. The separate input and output gain controls make it easy to control the transformer color without overloading the output stage. The DI circuit is ahead of the mic input transformer, perfect for adding some character to DI bass signals on the way in.

The distribution of mono and stereo balanced audio signals from a single source to multiple destinations has many applications including multi-zone sound reinforcement installations, live sports events coverage, broadcast studios, video suites, duplication or indeed anywhere high quality audio has to be distributed to a number of locations down long cable runs. The Drawmer DA-6 is a six channel stereo (or twelve channel mono) distribution amplifier featuring XLR balanced inputs and outputs with optional transformer balancing where remote amplifiers and recorders are fed from separate power supplies. The stereo Input features individual left/right level controls with LED bargraph metering enabling the correct balancing of stereo material or two mono signals. Each of the six outputs incorporate further left/right level controls and a Mono/Stereo switch providing the selection of either one stereo output or two mono outputs per channel. This feature allows the DA-6 to function as either a 1 x stereo input/6 x stereo outputs or 2 x mono input/12 x mono output unit or any combination of the two. The output section consists of a Channel Select so that the individual left/right output level of each channel is displayed on the output LED bargraph and can be monitored by the Headphone jack socket. A pair of auxiliary link stereo jack sockets (TRS) are provided via the rear panel for connection to further DA-6 units for the distribution of even more channels.

The renowned Manley Stereo Variable Mu Limiter Compressor is a favorite of producers and recording engineers. Anyone who has heard the classic Fairchild 670 Series limiters in action has an idea of this Variable Mu's capabilities. Its adjustable attack and release settings are optimized for mixing and mastering, but are flexible for most tracking situations. Sonically versatile and dependable for daily use, the Variable Mu is Manley's best-selling device. Classic compression/limiting Although the Variable Mu is not a clone of one, the Fairchild 670 series used a similar limiting principle and those who are familiar with that piece of gear know this method to be very special. In fact, with "mu" meaning gain or amplification factor, the Variable Mu offers true variable gain, unlike most devices. How it works is that the unique 5670 dual trioide is at the center of the peak-reducing and compression action - and it's constantly being re-biased by the vacuum tube rectified side-chain control voltages. This causes the tube to smoothly change its gain. The Varible Mu's Compress mode is soft-knee 1.5:1 ratio while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Outputs while using very little or no compression. Perfect for dual-mono or stereo applications You might notice that the Vari-Mu has a ganged input control, but it's certainly not mono-unfriendly. There are separate threshold and output controls to make compensations with, plus you can always adjust your individual source levels elsewhere. The advantage of the stereo input control becomes clear when you switch to Link mode, and that's what the Variable Mu does better than anything else: final mix, 2-track, or mastering limiting and compression. The Manley Variable Mu Mastering Version uses detented switches instead of pots and let you easily dial up or log favorite settings.